The first professional level camera that I ever used was my father’s Exakta VX1000. It was an odd beast, obviously designed for a left-handed user, with the film advance lever and shutter release button on the left of its angular body. It had shutter speeds, as i recall, down to 16 seconds, and an internal film knife that let you cut off part of a roll of film if you wanted to develop just a few frames without sacrificing the rest of the roll. That camera was my father’s pride and joy, and he’d saved money for some time to afford it. In those immediate postwar years Japanese cameras were considered junk, and the German photo industry was top dog. The Exakta cameras were made by Ihagee in Dresden, Germany, I have that Exakta now at my house in Radford, just waiting for my release. It came to me on my dad’s death in 2000, along with the rest of his photo equipment. It has the 50mm Steinheil lens, a lens that will focus very close; almost a macro lens, and is super sharp. The Exakta VX cameras were mechanical masterpieces. The VX1000 had a top shutter speed of 1/1000 second, while the less expensive VX500 only went to 1/500. My father got some great photos with that camera. It had no built-in light meter, so you used a separate hand meter or guessed exposure. I got to be pretty good at guessing, plus the black and white films we used were very forgiving. You could miss by quite a bit and still be able to pull off a good print in the darkroom. Of course, we developed our own film and printed the photos in our basement darkroom. For a while my father was the photographer for the Easter Seal Society in Roanoke, and the job came with the privilege of using their very nice darkroom so we would do our developing and printing there.

I must have been 12 or 13 when I “souped” my first film, and printed the pictures. Wow, that was a miracle, watching the images appear in the developing tray under the red safelight! I was hooked but good. And the pleasant addiction never went away. That sense of wonder has been lost in today’s digital world. Not that I’m down on digital, I’m not. I was an early adopter of digital, but never thought of how disruptive it would be to the business I love. Suddenly, almost overnight, major photography companies found themselves in the buggy business while automobiles took over the roads. Some companies made the transition and survived, but some didn’t.

A prime example of corporate head-in-sand blindness is Kodak. Essentially they invented the digital camera, and their electronic sensor division made, and may still make, some of the best digital sensors. But did they build cameras to house those sensors? No, they just sold those sensors to camera companies and gave away that market sector. Yes, there were Kodak professional digital cameras, but Kodak just bought Nikon and Sigma film cameras and modified them with their digital sensors and electronics. They shut down this operation some time ago. You can buy a Kodak branded point-and-shoot digital camera today, but it’s not made by Kodak. It comes from a manufacturer in Asia. So far as I know, the last cameras actually made by Kodak were some APS film cameras made at a Kodak factory in Mexico, where they wrestled with serious quality control issues. The last Kodak black and white photographic paper was made at a Kodak facility in Brazil. Rochester, NY, once “Kodak City” has seen the Kodak workforce drop radically, and people there can no longer look to Kodak for lifetime employment. It’s really sad to see this great American company go down, victim of bad management decisions. The same thing happened to Polaroid, another victim of the digital revolution. Both Kodak and Polaroid were instrumental in getting average Americans to make photographs. None of us in the photographic press anticipated the rapidity of the digital revolution, I’m sorry to say.

And now, there is another digital revolution going on, this one moving faster than anyone could have predicted. It is being driven by the cameras built into cellphones. These tiny cameras keep getting better and better. Last year saw the front covers of Rolling Stone and Conde Nast Traveler shot with iPhones! With cell phone cameras so good, many are asking, “What’s the point of carrying around a camera?”. This is a good question for the vast majority of people. And it’s sending ripples throughout the photo industry. You probably didn’t know that those compact point-and-shoot cameras were the bread and butter of the camera companies, and sales of those cameras provided the R&D money for advanced SLR development. Some companies saw those simple cameras making up 85% of their revenue. Where will that money come from now? I foresee a few camera companies going bust, unable to stay in business from SLR, high end mirrorless cameras, and lens sales alone. I’d say that Sony and Canon have the best chances of survival, as both companies are very diversified, with many other product lines to provide income. Fuji has a good probability of survival, too. I wouldn’t bet serious money on the survival of the others. At the very high end, where digital cameras sell for $ 30,000 and up, companies don’t need to sell many to survive, so it’s likely that Hasselblad, Leica, and Phase One will hang on. At least right now you can’t shoot a Times Square billboard with a cellphone, and there are other applications which require more pixels than even the digital SLRs can produce. Serious photographers will want more image control than phone cameras allow, and for things like wildlife photography only a long lens will work, so cellphone limitations will keep up a demand for more capability. To see beyond about ten years my crystal ball becomes hopelessly clouded.

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About The Author: Bob Shell is a professional photographer, author and former editor in chief of Shutterbug Magazine. He is currently serving a 35 year sentence for involuntary manslaughter for the death of Marion Franklin, one of his former models. Shell was recently moved from Pocahontas State Correctional Center, Pocahontas, Virginia to River North Correctional Center 329 Dellbrook Lane Independence, VA 24348. Mr. Shell continues to claim his innocence. He is serving the 11th year of his sentence. To read more letters from prison by Bob Shell, click here: http://tonywardstudio.com/blog/bob-shell-music-photography/

Why are “straight” people so freaked out over bondage? That’s a real puzzle to me. Here in the enlightened Virginia Department of Corrections (VDOC), all bondage photos/videos are classified as “violent.”. That would come as a surprise to the thousands of couples who employ bondage as part of their sex play, and buy their bondage gear and sex toys at the local shopping mall or on line. In England the big Sainsbury’s supermarket chain just announced that they will begin selling a selection of sex toys.

Sure, restraining an unwilling person is a violent act, but when both people, Dom and Sub (or Top and Bottom in today’s terminology), are voluntary participants, where’s the violence? Only in the eye of the beholder. And who else’s business is it, anyway?

I can attest to the fact that there was no violence in the 100+ bondage photos I shot for my bondage book. The only violence was violent fits of laughter that the models and I sometimes fell victim to. We laughed until we cried.

Not long ago I had an issue of Vogue confiscated as contraband. You heard right, Vogue, the 126 year old fashion and culture magazine. Why? Bondage. One of the advertisements showed a full page photo of two young women playfully wrapping stockings around one another. That’s bondage? Yep, in the eyes of the VDOC it is. Even though the mailroom censors approved the magazine and gave it to me, I still got a “possession of contraband” charge for having it!

At the same time in the buildup to Halloween this year several cable channels that we get showed movies in which involuntary bondage, usually of nubile females, played a part. I don’t even have a TV, but just passing by the big pod TV put these images before me. Talk about violence! The old “damsel in distress,” (Little Nell tied to a railroad track by Snidely Whiplash, waiting for Dudley Doright to come to the rescue), still attracts viewers, and if she’s mostly naked, so much the better. I’ve got news for the VDOC, I’ve never tied Little Nell, or anyone else, to a railroad track! And seeing two women playfully wrapping stockings around each other only brings a chuckle from me. It never even occurred to me that anyone could look at that playful image and see violent bondage

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If people want to tie each other up, and there’s no force or coercion, whose business is it besides theirs? Even if for sex? So fucking what?!!

For some time the Fifty Shades of Grey books were on the VDOC’s disapproved publications list, but after a while and many complaints, the Publication Review Committee (PRC) changed that and now our libraries can have them. Out of curiosity I read all three books. They’re awful! How they became best sellers is beyond me. But, awful as they are, they should never have been disapproved for anything other than bad writing and saccharine plotting!

Even having something like a publication review committee strikes me as very un-American. You know, the old First Amendment and all that. The current disapproved publications list is many pages long in small print! And they pay people to be on the PRC!

My first bondage photography was with a beautiful young woman who modeled as Elkie Cooper. She’d been referred to me by a photographer friend in DC, and had just turned 18. She says I was her first real photographer. I photographed her for years. I loved her sense of humor; Her website said, “Elkie Cooper, The Other White Meat,” parodying the pork industry’s slogan. I hadn’t even thought about bondage until she sent me some bondage photos of her that another photographer had made. So we tried a bondage session, and got some good images. The only photos in my bondage book made on film are the photos of her. She also appears in the Rotovision book Erotic Photography, to which I contributed several images. A little later that year I booked Maria Shadoes for a shoot, not realizing she was heavily into bondage. She brought her friend Heather along, and I made a bunch of light bondage photos of the two of them. I wanted some of them in my bondage book, but the publisher didn’t like them and they were cut. Maybe someday I’ll do Volume Two and include them.

Then along came Marion and changed everything. I’d never before had a romantic relationship with a model. Of course there is always a measure of sexual tension between photographer and model, and that, in my experience, energizes the session and the resulting images. Some of the best nude photographs ever made are those of Charis Wilson that Edward Weston made, and, of course, they were lovers off camera. Weston’s best are full of erotic tension, even when they’re just bell peppers! I like to think that a similar tension inhabits my best photographs of Marion, bondage or not. To me, and I believe her previous boyfriends, Marion was sexual energy personified. She was like a runaway generator, shooting sparks to anyone nearby, male or female. She couldn’t have turned this off, even if she tried. Only one model I’ve worked with even came close, Tina Marie. Put her together with Marion, as we did, and the energy took over the photo shoot and comes through in those images.

I feel like I was at the peak of my creativity and craft in those bondage and fetish photographs I was making from 2002 until 2007. Then the state shut me down. Maybe one day I will be able to pick up where I left off. I’ve still got a lot of ideas for new images. Just set me free and I’ll go to it!

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About The Author: Bob Shell is a professional photographer, author and former editor in chief of Shutterbug Magazine. He is currently serving a 35 year sentence for involuntary manslaughter for the death of Marion Franklin, one of his former models. Shell was recently moved from Pocahontas State Correctional Center, Pocahontas, Virginia to River North Correctional Center 329 Dellbrook Lane Independence, VA 24348. Mr. Shell continues to claim his innocence. He is serving the 11th year of his sentence. To read more letters from prison by Bob Shell, click here: http://tonywardstudio.com/blog/bob-shell-the-evolution-of-photography/